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К л ю ч е в ы е с л о в а : танцы; модернизм; русский балет; интермедиальные аллюзии; поэтическое творчество; английская литература; английские поэты. K e y w o r d s : dance; modernism; Russian ballet; intermedial allusions; poetic creativity; English literature; English poets. Д л я ц и т и р о в а н и я : Ушакова, О. М. Приглашение к танцу: интермедиальные аллюзии в ранней поэзии Т. С. Элиота («Смерть святого Нарцисса», «Подавленный комплекс») / О. М. Ушакова // Филологический класс. – 2019. – No 1 (55). – С. 136–143. DOI 10.26170/fk19-01-20. F o r c i t a t i o n : Ushakova, O. M. Invitation to the Dance: Intermedial Allusions in T. S. Eliot’s Early Poetry (“The Death of Saint Narcissus”, “Suppressed Complex”) / O. M. Ushakova // Philological Class. – 2019. – No 1 (55). – P. 136–143. DOI 10.26170/fk19-01-20. Ushakova O. M. Invitation to the Dance: Intermedial Allusions in T. S. Eliot’s Early Poetry... Philological Class. 2019. NO 1 (55) 137 The modernist aesthetics is characterized by an increasing tendency to transgress and displace the boundaries of different genres and art forms, a tendency conducive to postmodernist forms of intermediality. Most works of modernist writers are interspersed with numerous references to visual arts, music, theatre, etc. But the modernists didn’t refer to visual arts in the classical, ekphrastic way nor limited themselves by using one-dimensional linear references (quotations and direct allusions) to music or other arts in the texts. Their writing strategies and techniques were based on the new types of interactions between literary texts and arts. The arts influence the structure and content of the text in an ongoing process of incorporating alien components resulted in a complex synthetic amalgam and evoking new artistic emotions and effects. This paper examines in what way the visual arts and ballet as a synthetic art influenced the texts of T. S. Eliot (1888– 1965), a classic of high modernism. In this paper the analysis focuses on two early texts: poems “The Death of Saint Narcissus” (circa 1915) and “Suppressed Complex” (1915). The paper also presents a study of cultural-historical and biographical contexts of the creative process as well as th1e contexts of visual and dancing references. One of the research aims is to prove the intermedial nature of Eliot’s poetic allusions revealing the dynamic interactions between different kinds of art. While intermediality draws our attention to the aesthetic presence of other arts we also turn to some artifacts as the visual sources of poetic allusions (paintings by Andrea Mantegna, Henri Matisse’s, costume sketches and drawings by Leon Bakst). Under consideration there are also the materials (historical data, musical pieces, the drafts of scenery and costumes, photos, etc.) connected to Paris performances of the ballets “Narcisse” (1911), “Le Spectre de la Rose” (1911) of Diaghilev’s Ballet Russes and a mystery play “Le Martyre de Saint Sebastien” (1911) as the important sources for performative allusions in Eliot’s poems. This problem has not been studied in a systematic way. However, the poem “The Death of Saint Narcissus” attracted the attention of the Russian researchers. Moscow scholars Vasiliy Tolmatchoff and Natalya Lavrova analysed the philosophic aspects of the poem, intertextual connections (Oscar Wilde’s “The Picture of Dorian Gray”, André Gide’ “Le traite du narcisse: theorie du symbole”, etc.), the theme of the poetic narcissism, homoerotic and Dionysian dimensions of the text, etc. [Толмачев 2014; Лаврова 2010]. These poems were also considered in connection to the theme of a mystic “burnt dancer” in my essay “A Dandy, Bully and Mystic: The School of Poetic Play in T.S. Eliot’s ‘Inventions of the March Hare’” [Ушакова 2016]. This paper addresses the methodologies connected to the intertextual and inter-art theories and intermediality studies. The main research argument will be founded on the concepts of intermediality and intermedial allusions as important issues of modernist studies. The intermedial studies are one of the most productive trends in the Humanities nowadays. As a Hungarian scholar Ágnes Petho mentioned in her paper devoted to intermediality in cinema: “The other factor that propelled “intermediality” to a wider attention was most likely the fact that it emerged on an interdisciplinary basis that made it possible for scholars from a great number of fields (theories of literature, art history, music, communication and cultural studies, philosophy, cinema studies, etc.) to participate in the discourse around questions of intermediality” [Ágnes Petho 2010: 40]. While the notion “intermediality” (“intermedial”) appeared as a literary term and an explicit theoretical concept only in 1960-s it might be applied to the earlier cultural phenomena. In recent years the studies concerning the relations between the arts have become one of the major research areas in literary studies in Russia and abroad. In Russian literary studies the problem of intermediality has been studied in theoretical (aesthetic) and historical fields as well in practical criticism from the position of discursive analysis (N. N. Gasheva, N. M. Myshiakova, N. V. Tishunina, E. V. Sedykh and others)1. Abroad the field of intermediality research has been ever-expanding since the 1980s. In her Introduction to a highly helpful collection of papers “Handbook of Intermediality. Literature – Image – Sound – Music” (2015) a Swiss scholar Gabriele Rippl, the author of the anthology, explains the prevalence and emphasizes the topicality of literary intermedial studies: “The popularity and increasing importance of intermediality studies and other related fields can be attributed to the fact that in our digital age many works of art, cultural artifacts, literary texts and other cultural configurations either combine and juxtapose different media, genres and styles or refer to other media in a plethora of ways” [Handbook of Intermediality. Literature – Image – Sound – Music 2015: 1]. The listing of studies investigating intermediality would take a lot of space and time therefore we will limit ourselves to mentioning several recent publications that could be interesting and stimulating in the context of the proposed study. The works of such authors as Jørgen Bruhn, Renate Brosch, Lars Elleström, Erik Hedling, Linda Hutcheon. Maria Marcsek Fuchs, Ana Cristina Mendes, Michael Meyer, Irina Rajewsky, Peter Wagner, Werner Wolf might be intensively circulated and included into the domestic academic context2. 1 Гашева Н. Н. Динамика синтетических форм в русской культуре и литературе XIX и XX веков. – Пермь, 2004; Мышьякова Н. М. Опыт интермедиального анализа (музыкальность лирики А. А. Фета) // Вестник Оренб. ун-та. – 2002. – No 6. – С. 55–58; Тишунина Н. В. Западноевропейский символизм и проблема синтеза искусств: опыт интермедиального анализа. – СПб., 1998; Седых Э. В. К проблеме интермедиальности // Вестник Санкт-Петербургского университета. Серия 9. Филология. Востоковедение. Журналистика. – 2008. – No 3–2. – С. 210–214. 2 Brosch, Renate, ed. Moving Images – Mobile Viewers: 20th Century Visuality. Berlin: LIT Verlag, 2011; Bruhn, Jørgen. The Intermediality of Narrative Literature. London: Palgrave Macmillan, UK, 2016; Media Borders, Multimodality and Intermediality. Ed. Lars Elleström. Basingstoke: Palgrave Macmillan, 2010; Hedling, Erik, and Ulla-Britta Lagerroth, eds. Cultural Functions of Intermedial Exploration. Amsterdam and New York: Rodopi, 2002; Hutcheon, Linda. A Theory of Adaptation. New York: Routledge, 2006; Marcsek Fuchs, Maria. Dance and British Literature: An Intermedial Encounter: (Theory – Typology – Case Studies). Leiden, Netherlands. Brill, 2015; Mendes, Ana Cristina, ed. Salman Rushdie and Visual Culture. New York and London: Routledge, 2012; Meyer, Michael, ed. Word & Image in Colonial and Postcolonial Literatures and Cultures. Amsterdam: Rodopi, 2009; Rajewsky, Irina O. Intermedialitat. Tübingen and Basel: Francke, 2002; Wagner, Peter. Icons – Texts – Iconotexts. Essays on Ekphrasis and Intermediality. Berlin: De Gruyter, 1996; Wolf, Werner. Metareference across Media: Theory and Case Studies: Dedicated to Walter Bernhart on the Occasion of his Retirement. Leiden, Netherlands: Brill, 2009; Wolf, Werner. The Musicalization of Fiction: A Study in the Theory and History of Intermediality. Amsterdam: Rodopi, 1999; Selected Essays on Intermediality by Werner Wolf (1992–2014): Theory and Typology, Literature-Music Relations, Transmedial Narratology, Miscellaneous Transmedial Phenomena. Leiden, Netherlands: Brill, 2017, etc. Ушакова О. М. Приглашение к танцу: интермедиальные аллюзии в ранней поэзии Т. С. Элиота... 138 Филологический класс. 2019. No 1 (55) It should be noted that the theoretical constructs of Russian and foreign researchers of intermediality are united by the common methodological basis, Mikhail Bakhtin’s concept of dialogue and dialogism. A Finnish scholar Leena Eilittä, the editor of the book “Intermedial Arts: Disrupting, Remembering and Transforming Media” (2012) emphasizes that the basis of modern theories is rooted in the ideas of Bakhtin developed by Julia Kristeva: “Julia Kristeva’s notion of intertextuality, which focuses on the relations between texts, is the most relevant theory for intermediality. For Kristeva, the text is a dynamic mosaic of quotations that includes absorptions and transformations of other texts. Kristeva’s theory develops the ideas of Bakhtin’s principle of dialogicity, which assumes that words are filled with dialogic overtones and with echoes and reverberations of other utterances. Bakhtin’s theory allows the view that verbal expressions are not only influenced by expressions of a similar art but also by other media and their structures. However, although Bakhtin’s and Kristeva’s theories have been important for intermediality to come into being, neither of these theories has really taken into

INVITATION TO THE DANCE: INTERMEDIAL ALLUSIONS IN T. S. ELIOT’S EARLY POETRY (“THE DEATH OF SAINT NARCISSUS”, “SUPPRESSED COMPLEX”)